Nick Lear wrote:re 2, are you using the latest 12.5? For me I have the setting Edit>Switch To Timeline After Edit ticked and the focus moves automatically from source to record on insert or overwrite. Is that what you're referring to or something else?

Yes, I'm current (on Windows), and that setting is selected, it's the default.

After editing in a clip from the Media Pool, the timeline playhead will function, but not the previous/next function of the up/down keys -- that remains in the Media Pool, unless the timeline window is clicked.

And when editing in a clip from the source viewer, the playhead focus remains in the source viewer and the previous/next focus is in the Media Pool(!)

Are you getting different behavior on the Mac version?

Win7/12.5.0.052

I think I am getting different results from the Mac version.

One thing I'm able to reproduce is that if I edit in a clip from the media pool by dragging it to the right of the timeline viewer and drop it on insert say, then the arrows stay with the media pool. If I edit it in via F9 or Edit>insert then the arrows work in the timeline straight away (though strangely about 1 time in 20 I do see what you're describing, though I can't see a pattern of what triggers it).

From the source viewer whichever way I edit in a clip or portion of a clip, whether drag, F9 or menu, all focus moves to the timeline, for arrows, playhead etc.

I should say that I don't use the arrows normally for next/previous edit, though I did for this test switch back to the standard layout. For me in my own keyboard layout, for all of the ways I can edit a clip from the media pool to the timeline, the next edit/clip function works straight away. I mention this as it points to it being potentially a bug, around using arrow keys for more than one thing, i.e. up/down in a menu or bin as well as the next/previous clip/edit function. And the difference between Win and Mac also points to that.

Nick Lear wrote:I think I am getting different results from the Mac version.

One thing I'm able to reproduce is that if I edit in a clip from the media pool by dragging it to the right of the timeline viewer and drop it on insert say, then the arrows stay with the media pool. If I edit it in via F9 or Edit>insert then the arrows work in the timeline straight away (though strangely about 1 time in 20 I do see what you're describing, though I can't see a pattern of what triggers it).

From the source viewer whichever way I edit in a clip or portion of a clip, whether drag, F9 or menu, all focus moves to the timeline, for arrows, playhead etc.

No matter how I edit in a clip into the timeline from the Media Pool (f9/f10, right click and select append or insert, drag and drop to timeline or timeline viewer) the next/previous focus remains in Media Pool.

And, when editing from the Source Viewer, play focus remains in Source and previous/next focus in the Media Pool.

The odd man out for me is the occasional failure of even playhead focus to shift to the timeline.

If it's a known anomaly in Windows, I'd shut up about it, but there's been no word....

John Paines wrote:No matter how I edit in a clip into the timeline from the Media Pool (f9/f10, right click and select append or insert, drag and drop to timeline or timeline viewer) the next/previous focus remains in Media Pool.

Have the marker details panel open with the title highlighted, rather than the details box. There's not much point in have a blue marker called "blue marker". I always want to change the title so that something meaningful is displayed when mousing over the marker.

Nick Lear wrote:I should say that I don't use the arrows normally for next/previous edit, though I did for this test switch back to the standard layout. For me in my own keyboard layout, for all of the ways I can edit a clip from the media pool to the timeline, the next edit/clip function works straight away. I mention this as it points to it being potentially a bug, around using arrow keys for more than one thing, i.e. up/down in a menu or bin as well as the next/previous clip/edit function. And the difference between Win and Mac also points to that.

You're right: changing the next/previous clip shortcuts to something other than the cursor keys -- say, "x" and "c" -- does shift navigation focus to the timeline, whether editing in clips from the Media Pool or Source Viewer.

Not ideal, since the cursor keys are a natural fit for navigation, and there aren't many alpha shortcuts to spare, but at least it's a workaround....

Don't know if this has bin mentioned, but what really is on my nerves is, how the LUT roll-out menu works (or rather not works), especially if you have a ton of LUTs in there. Every time I want to grab a LUT, it takes like 3 ore more tries to pick it, before the menu collapses.

@ Frank(On Windows) if I remember:Project Management -> lookup tables -> 3d monitor Lookup table -> right click on the arrow pointing down: a directory listbox entry appears (those after C:\ProgramData\Blackmagic Design\Davinci Resolve\Support\LUT) for each directory on the right list read. It remains only to save luts in different directories.

Using DR as an editing application primarily, I would like it to remember what page I was on when I last quit (e.g. the Edit page) rather than always opening on the Media page which I rarely need after I've set the project up.

It would also be nice to auto open the last project used - or is this already possible?

I really wish BMD trying to reduce material consumption which became expenentielle.I found AVID going in this direction and I hope that BMD will follow ..I confess to having increasingly to have trouble keeping this financially material consumption because it takes a little too often change equipment.Thank you.

I recently bought my second Blackmagic Pocket Cinema Camera as I love the films they produce. I'm an hobbyist/enthusiast (not professional), and my dream would be that the point above was realised in Davinci Resolve 13. Now that Fusion came in Linux version, I hope Davinci Lite will also be available in Linux so I can move my entire workflow to Linux. I use Linux for everything else as it saves me time and frustrations. I guess I could have bought a professional version of Davinci, but I prioritised getting a second camera in stead.

I think it also would make sense to have people use Davinci Lite in Linux as they then have no problem of using professional version of Davinci Resolve if they pick this up as a career.

I do a lot of final mastering on Resolve with several discrete audio tracks.

12.5 was a godsend with additional features like the ability to add several audio tracks to a timeline at once and also set them all to mono at the same time, as well as the added render feature to make each audio track separate in the QT, as opposed to one track with 12 channels or whatever.

But what's still a huge pain in the ass is having to assign track outputs in the Track Mixer. I wish that when I add 12 mono tracks to a timeline, it would automatically assign each track to the corresponding channel and set each channel to mono. (ie Track 1 to Ch1, Track 2 to Ch2, etc). As it is right now, when I add 12 mono tracks to the timeline and open up the track mixer, each track is assigned to output stereo on 1+2.

That's probably my biggest annoyance at the moment.

Also it would be nice to dustbust on something other than 10-bit DPX files. Being able to dustbust on 16-bit DPX files is going to be essential soon.

I understand why it's not feasible to dustbust on a ProRes file, but it would be nice if it had the option to convert a file to DPX within the timeline so that it could be dustbusted.

from some other applications I know a very charming thing that I'd wish to have in Resolve.

It's the behaviour of the scroll-bar under the timeline.

If you click on the scrollbar and move the mouse to left or right the scrollbar goes left or right and moves the timeline. That's normal as usual.

But ...

If you move the mouse upwards or downwards and the timeline zooms in or out (as if you click on the plus or minus symbol above the timeline) that would be very very charming - especially if you work with a wacom tablet or any.

from some other applications I know a very charming thing that I'd wish to have in Resolve.

It's the behaviour of the scroll-bar under the timeline.

If you click on the scrollbar and move the mouse to left or right the scrollbar goes left or right and moves the timeline. That's normal as usual.

But ...

If you move the mouse upwards or downwards and the timeline zooms in or out (as if you click on the plus or minus symbol above the timeline) that would be very very charming - especially if you work with a wacom tablet or any.

from some other applications I know a very charming thing that I'd wish to have in Resolve.

It's the behaviour of the scroll-bar under the timeline.

If you click on the scrollbar and move the mouse to left or right the scrollbar goes left or right and moves the timeline. That's normal as usual.

But ...

If you move the mouse upwards or downwards and the timeline zooms in or out (as if you click on the plus or minus symbol above the timeline) that would be very very charming - especially if you work with a wacom tablet or any.

Thanks.Peter

Hold the Alt 'option' key and scroll to zoom.

Yes, that's a possibility, but it's not as easy.

I have to put my left hand away from the shuttle to press the alt-key on the keyboard and to put away the wacom-pen out of my right hand to grab the mouse and scroll the mouse-wheel.With the function I mean, you don't have to press an further key, so you can leave the left hand on the shuttle, keep the pen in your right hand and move'n'zoom the timeline just with the tablet-pen. Even if you work with the mouse instead of the wacom-pen.

Right now I'm able to get by with manually cutting in and/or force conforming each title card, but I'm thinking if I ever work on a show with subtitles throughout and the clients supply the subtitles as single frame tiffs, this is going to be a huge issue.

With a duplicate frames indicator, you can append a selects timeline at the end of your cut (decompose if necessary) and in an instant see which of your shots you haven't already used as cutaways in the sequence. So useful when cutting your b roll.

What I want is the ability to set arbitrary frame rates. I correct a lot of scanned 8mm and 16mm films. I see material shot at 12, 16, 18 and other weird frame rates all the time. It's a total pain in the butt that I can't play any of it in real-time. Also doesn't look very professional when I have someone else sitting in.

So let us set our own frame rates! If there's a worry about it being non-standards-compliant stick a big warning checkbox or something to make sure the operator reality knows what they are doing.

Ryan Humphrey wrote:What I want is the ability to set arbitrary frame rates. I correct a lot of scanned 8mm and 16mm films. I see material shot at 12, 16, 18 and other weird frame rates all the time. It's a total pain in the butt that I can't play any of it in real-time. Also doesn't look very professional when I have someone else sitting in.

So let us set our own frame rates! If there's a worry about it being non-standards-compliant stick a big warning checkbox or something to make sure the operator reality knows what they are doing.

There is a workaround for that:

let's say that you have 16mm shot at 18fpsload the material, flag it at 24fpscreate the project at 24fpsif you play, now it will be faster than realtime for yougo in settings [master project settings][playback frame rate] and set that to 18.

the machine will adjust to play at 18fps thru a normal SDI/HDMI pipeline...

I am also in the restoration of old (very) 8mm / Super 8 and etc .. and one (my) solution (for now) is through the 8.333 image interpolation (catch rate) to 25 fps (PAL) and removal of duplicate images. It's been since the year 2004 I do like this (OK it is old! And defects of interpolation but ...)

In the future and with Davinci Resolve (and new feature of acceleration or deceleration and RETIME), I always think of a new workflow but it is only the state analysis.

I did not make the investment but I think that After Effect allows to choose the project framerate.

1. In the media page when I click on a folder and select "relink" it should relink everything in that folder. Right now it lets you go through the whole process (including where to search) but does not relink anything.

2. We need a visual indication when Audio clips go offline, similar to how video clips appear when offline. Both on the timeline and the media page.

Would be very helpful if Resolve can display multiple camera feeds during Live Grade. Currently it recognizes only one camera, and may require reshuffling to get the other one to show independently. Pomfort Livegrade does this beautifully; but it's only for the mac world. Us windows folks are left in the cold. And I'm not talking about on-the-fly grading. Stills are good enough, but a pain to acquire from Resolve - ONLY from multiple cams. I am currently playing with MediaLooks Direct Take Software. If any one knows how to do this, I would be very grateful for a walk-through.

To be able to right click and choose "clear list" to clear the list of timelines at the top of the timeline viewer. Now I have 60 odd timelines in the list it's not worth using and I'm only working on 3 or 4 right now.

Or just having the latest at the top rather than the bottom would make it useable (the bottom of the list is off the screen once the list is long).

Nick Lear wrote:To be able to right click and choose "clear list" to clear the list of timelines at the top of the timeline viewer. Now I have 60 odd timelines in the list it's not worth using and I'm only working on 3 or 4 right now.

Or just having the latest at the top rather than the bottom would make it useable (the bottom of the list is off the screen once the list is long).

Request that Grouping "chain link" icons be also displayed on the clip thumbnails in the Lightbox on the Color Page, so that you can see more simultaneous thumbnails at once.

Scrolling up and down the timeline is OK, but I find it harder to visually compare clips when you have to scroll across the timeline.

Seems everything else is there to manage groups BUT the "chain link" icons indicating which shots are in the currently selected group and I would really like to use the lightbox to choose shots for groups.

I explored using flags and markers to denote clip groups, but it seems impractical if you use these for other notes and events.

Frank Glencairn wrote:Don't know if this has bin mentioned, but what really is on my nerves is, how the LUT roll-out menu works (or rather not works), especially if you have a ton of LUTs in there. Every time I want to grab a LUT, it takes like 3 ore more tries to pick it, before the menu collapses. Would also love to see a better way to sort them like custom folders.

+100000Theses roll-out menus are a pain and close on me all the time.And we really need LUT preview when the pointer is hovering the list.

Ryan Humphrey wrote:What I want is the ability to set arbitrary frame rates. I correct a lot of scanned 8mm and 16mm films. I see material shot at 12, 16, 18 and other weird frame rates all the time. It's a total pain in the butt that I can't play any of it in real-time. Also doesn't look very professional when I have someone else sitting in.

So let us set our own frame rates! If there's a worry about it being non-standards-compliant stick a big warning checkbox or something to make sure the operator reality knows what they are doing.

+1

YESSSS!!!!

PS: Thanks for the tip, waltervolpatto.

My two cents:

Position curves. The same curves we have for rotation, zoom, yaw and pitch, we NEED it for position too.

Now, with DR, if you animate the position of a layer, you can not tweak the curve for easing out keyframes and get a customized "soft landing". IMHO this is close to a bug, and make position animation useless in 75% of cases.

In the menu View, beside Safe Areas, the ability to show a grid (made of lines or maybe dots) on all the image. Useful with architectural shots or any footage containing lines we need to make straight or when we need to correct the perspective of a building, making vertical lines vertical or parallel.

Alternatively, we can use the Wipe tool to help for now with verticals.